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Get my Smart Start To Mixing video and learn the 3 steps to get more clarity and punch on your next mix, guaranteed! When I was in college, all of my audio professors and books taught me to record as clean as possible, no effects.
If in my mind I know that I want to compress that snare drum a bit to get that nice round fat tone, why wait to do that with a plugin later if I have a means to compress it on the “way in” to my DAW? Likewise if you have insert jacks in your interface then you can easily patch in a compressor or EQ and do the same thing. As part of my sonic journey, I’ve kinda held that I should add as little as possible and still have a great sounding input. For example, it’s not the same thing to have reverb or delay play through a tube amp and be recorded by a microphone in a room compared to recording the amp dry and then adding a digital reverb and delay later. But if you record dry, you can ALWAYS change what you are adding or subtracting to the track.
Now if you have a whole lot of tracks that are similar, once you are satisfied with each you can export that single track with the effects and import it back into the project. Additionally for the hard core hackers out there… you can also record clean, have the output come back out your board clean back into your rig and mic it or run a direct connection. With all due respect I think you are missing part of the concept, which is to see the big final picture from the start. My point is when you make that commitment too early you proverbially record yourself into a corner that you cannot get out of acoustically. I have a simple solution for this, which covers both having effects while recording and clean recordings.
The problem is that I DON’T want to make decisions later (to keep the plugins or not).
Well, recording through plugins isn’t very doable with out the help of DSP, so you would need outboard gear of some kind for EQ or compression. It’s hard for me to sing with any kind of passion if the mic is dry and the instruments aren’t sounding the way they should at the mastering stage!
What is funny is that for electric guitar, this is the ONLY way to record, it always has been.
Maybe I am old school, but when we cut tracks “back before baseball” the effects were 90% of time laid WHEN RECORDING! There was an article in SoundonSound recently about the recording of Nine Inch Nails album The Downward Spiral with Sean Beavan about a similar thing.
He said that a lot of the time Trent Reznors performances were actually shaped by the effects that were used. Same with vocal performances a lot of stuff was run straight through a Zoom 9030 and would shape the aggression and emotion of the performance. I think so few mention it is because it is 2nd nature to create a clean back up when using a computer system. I just entered a producer remix contest and applied alot of your tips and theology to the song I produced and mixed for the contest. I came from the same school of thought until I recorded with Brett Hestla (Creed, Dark New Day). I get it, I totally understand, but you get to a point in production where you start developing your own sound and you know what you want.
I have of writing some parts of the arrangement while recording, and usually guitar is one of the things I record first and let it inspire me while I play other instruments. In a method like this, I think the tone is a very important part, can you imagine a rock riff being played clean? Kanto Karaoke is the best Karaoke Recorder software (for PC and Mac OS X) to combine voice and music.

Before start the recording, please be sure to select the driver of your PC from the drop down menu in the lower right of the program. Interessante o programa… mas achei que o son da minha vos e muito baixo e com muito ruido… tem como regular isso? I want to create a self help mp3 with my voice and adding aspirations over music I have in my Itunes library. Sorry, but our software can record voice over song only through the PC internal sound card. This is a warning message in OS X when you try to launch a Mac app that didn’t come from the Mac App Store. So if recording my vocals in time with the backing music is my main goal, am I actually better off purchasing a USB microphone or a microphone going through 3.5mm adapter? Is there anyway to reduce the volume of the song, because my mikrophone is week and the music is to loud on the recording and u cant hear me properly, yes ive tried to boost the mike and the input volume is on max. I run my show from a laptop through to a mixer that mixes microphones and powered speakers. Do you have a collection of karaoke CD+G discs or MP3+CDG files stored on your PC (or Mac)? Many audio interfaces these days are coming loaded with onboard DSP for compress, EQ, and even reverb. If, for example, the drum overheads sound great but there is a little bit of muddiness caused by the room you’re recording in, go ahead and patch in an EQ to cut out a bit of low mids to clean them up. It delays the decision making process to the mixing phase (and sometimes even to the mastering phase!) It’s crazy to me. And also about stuff not fitting well together come mix time,that will happen usually if you abuse the concept. I run through a POD, and if I have the effect I’m going for in the POD, I use it there. At the moment I send my vocal to a verb and delay bus whilst tracking… But I have done it both ways and I can see benefit of both. However I think this philosophy Graham is referring to also has to do with things like an effect on your guitar or even (heaven forbid) using a real onboard synth or keyboard sound and not messing endlessly for hours with midi patches later. He would sometimes sit down with a guitar while Sean would be furiously tweaking knobs of effects pedals while Trent would be cycling through different riffs until he came to a sound and riff that just worked then they recorded it.
If I know the sound I’m going for why not just print it to tape and save cpu power for the mixing phase? I enjoyed this because what impeeds my freedom and creativity is always worrying about rules and being afraid to try or experiment with things instead of just enjoying the entire process of writing, recording and mixing a song and seeing it all the way through. Do we really have to wait to make things sound better or the way we want until the “mixing stage”? It has a user-friendly interface and allows you to easily import a song (audio file), record your voice and export your recording to mp3 format.
Then click on the RED circular button in the player to start the voice over song recording.
Then click on the record button and start singing on the song… Voice and music should be recorded at the same time. Assuming that the voice over has already been recorded, is it still possible to miss it with a song with this program? It’s a great idea in theory, until I realized that it was one of the biggest philosophies holding me back from making better music. I was recording in such a way that the tracks sounded OK, but I assumed I could make them better in the mix. So why not use them now so that the snare drum sounds the way you want from the beginning?!

What we end up with is a bunch of clean recorded tracks that have no character and need a lot of work. I’ve had so many rock sessions where the snare drum sounded weak and lifeless and I thought, well I can fix that bad boy later by eqing it or replacing it with a sample. Anyway I believe the most important thing in this article is the advice of commiting to a sound early on. I can tap my delays to be the same tempo as the song, and typically I pefer the chorus effect in the POD to the ones in my DAW for some of my clean tones.
If you like something right then and there, (like using a chorus pedal in your guitar chain) then do it! Even if the printed track isn’t 100% you could still tweak it a little with eq and other effects later to bring it a little closer to where you wanted it. I mean there are some good plugins out there, but 9 times out of 10 they won’t substitute for dialing in and capturing an awesome sound. Sometime doing vocals, I record with the back door open, there are Neighborhood Kids of all ethnicity and languages playing, and my dog barking, It becomes part of the Moment. Make double click on it to open the destination folder where you will find the mp3 file of your recording. This flips our mixing to recording ratio around way too much and sucks the fun out of mixing. Record them clean and add effects later, BUT all the guitarists I loved as a kid recorded just the opposite. Also, voting for the track would be greatly appreciated as well!:) You can listen and vote by clicking on the link below. To me as a guitar player, recording the guitar with no fx, just beats me, I cant play, cant envision the result, cant feel anything. I understand that this software suppresses the vocals in the original song and allows user to record his voice in its place. There’s no substitute for getting each track as close to your goal as possible on the way in.
Just my 2 cents,although I do know where your approach comes from and appreciate your input.
Of course, I WOULD tay away from using reverb on the amp though – that is if you want to give it the same verb as being used on multiple other tracks in the mix. The Edge recorded his guitars for Boy, October and War using an MXR compressor and a Memory Man delay going in. If it turns out, then great if things do not go the way that I have planned then I could always go the the back up copy which is like a huge do over. I don’t use A Click Track, I use whatever rhythm and Chord structure I played on an Acoustic as my guide.
This is one of those cases where (IMO) you should know a rule inside-out before you choose to break it. If you have reached a point where you know your gear, your room, and environment inside-out, and you absolutely KNOW you’re gonna want X on the snare drum (or whatever), sure. However, just because that worked on your last song, doesn’t automatically mean it will work in the mixing stage of a different song. Further, futzing around with such things during tracking can slow down your session if everyone is sitting around waiting.

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